The commonality of artistic principles in vocal, piano, and choral performance
DOI:
https://doi.org/10.24195/artstudies.2026-1.7Keywords:
vocal performance, piano performance, choral performance, interpretation, intonationality, artistic-imagery thinking, subordination of technique to artistic intentionAbstract
The article addresses the relevant problem of a comprehensive understanding of musical performance as a unified artistic phenomenon, examined through the examples of vocal, piano, and choral performance. The necessity of generalizing common artistic principles is emphasized, as these principles determine the figurative–semantic integrity of a musical work’s performance and enable the interpretation of different types of performance within a single conceptual paradigm. The purpose of the study is to identify and theoretically generalize the shared artistic principles of vocal, piano, and choral performance, taking into account interpretative, intonational, artistic-imagery, and technical aspects. The research methodology is based on a comprehensive musicological approach, which includes theoretical analysis of scientific sources, the comparative method, an analytical-interpretative approach, and elements of system analysis. The application of these methods allowed for understanding different types of musical performance not in isolation but as interconnected components of a unified artistic process. The results of the study confirmed that musical performance should be considered as an integral communicative process, in which vocal, piano, and choral execution are united by shared artistic principles. Interpretative activity serves as a fundamental mechanism for comprehending the composer’s intention, intonationality ensures the unity of emotional and expressive content, artistic-imagery thinking shapes a holistic artistic image, and technique functions as a practical tool for realizing these principles. The practical significance of the study lies in forming a comprehensive understanding of musical performance as a universal artistic activity and in creating a methodological foundation for further research in musicology. Prospects for future investigations include identifying other universal patterns of artistic organization in musical performance and developing the theory of an integrative approach to performance practice.
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